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M1495 

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MAIN 


ARIA  DA  CAPO 


BY  EDNA  ST.  VINCENT  MILLAY 

SECOND  APRIL 

RENASCENCE  AND  OTHER  POEMS 

A  FEW  FIGS  FROM  THISTLES 

ARIA  DA  CAPO:  A  PLAY 

THE  LAMP  AND  THE  BELL:  A  DRAMA 


ARIA  DA  CAPO 

A  PLAY  IN  ONE  ACT 


EDNA  ST.  VINCENT  MILLAY 


NEW  YORK 

MITCHELL  KENNERLEY 

MCMXXI 


COPYRIGHT  1920  BY 
EDNA  ST.  VINCENT  MILLAY 


Application  to  produce  this  play  should 
be  made  to  Edna  St.  Vincent  Millay, 
in  care  of  The  Provincetown  Players, 
133  Macdougal  Street, 


PRINTED  IN  THE  UNITED  STATES 


PS  35A5 

/H',  we  As 
M/HKJ 


ARIA  DA  CAPO 


PERSONS 

PIERROT 

COLUMBINE 

COTHURNUS,  MASQUE  OF  TRAGEDY 

THYRSIS 


. 


,      SHEPHERDS 
CORYDON 


ARIA  DA  CAPO 

A  PLAY  IN  ONE  ACT 

SCENE 
A  Stage 

rri  HE  curtain  rises  on  a  stage  set  for  a  Har- 
•*•  lequinade,  a  merry  black  and  white  interior. 
Directly  behind  the  footlights,  and  running  paral 
lel  with  them,  is  a  long  table,  covered  with  a  gay 
black  and  white  cloth,  on  which  is  spread  a  ban 
quet.  At  the  opposite  ends  of  this  table,  seated 
on  delicate  thin^legged  chairs  with  high  backs, 
are  Pierrot  and  Columbine,  dressed  according  to 
the  tradition,  excepting  that  Pierrot  is  in  lilac, 
and  Columbine  in  pink.  They  are  dining. 

COLUMBINE  :      Pierrot,  a  macaroon !  I  cannot  live 
without  a  macaroon! 

PIERROT:  My  only  love, 

You  are  so  intense!     .     .     .     Is  it  Tuesday, 

Columbine?  — 
I'll  kiss  you  if  it's  Tuesday. 

5 


6  AKIA    DA    CAPO 


COLUMBINE:  It  is  Wednesday, 

If  you  must  know.    ...    Is  this  my  artichoke, 
Or  yours? 

PIERROT  :         Ah,  Columbine, —  as  if  it  mattered ! 
Wednesday.     .     .     .    Will  it  be  Tuesday,  then, 

to-morrow, 
By  any  chance? 

COLUMBINE  :  To-morrow   will   be  —  Pierrot, 

That  isn't  funny ! 

PIERROT:  I  thought  it  rather  nice. 

Well,  let  us  drink  some  wine  and  lose  our  heads 
And  love  each  other. 

COLUMBINE:  Pierrot,  don't  you  love 

Me  now? 

PIERROT  :  La,    what    a    woman !  —  how    should    I 

know  ? 
Pour  me  some  wine:    I'll  tell  you  presently. 

COLUMBINE:    Pierrot,  do  you  know,  I  think  you 
drink  too  much. 

PIERROT:       Yes,  I  dare  say  I  do.    ...    Or  else 

too  little. 
It's  hard  to  tell.    You  see,  I  am  always  wanting 


ARIA    DA    CAPO 


A    little    more    than    what    I    have, —  or    else 
A  little  less.     There's  something  wrong.     My 

dear, 
How  many  fingers  have  you? 

COLUMBINE:  La,  indeed, 

How  should" I  know?  —  It  always  takes  me  one 

hand 
To  count  the  other  with.     It's  too  confusing. 

Why? 

PIERROT  :     Why  ?  —  I  am  a  student,  Columbine ; 
And  search  into  all  matters. 

COLUMBINE:  La,  indeed?  — 

Count  them  yourself,  then! 

PIERROT:  No.     Or,  rather,  nay. 

'Tis    of    no    consequence.  ...  1    am    become 

1 A  painter,  suddenly, —  and  you  impress  me  — 

Ah,  yes !  —  six  orange  bull's-eyes,  four  green 

pin-wheels, 

And  one  magenta  jelly-roll, —  the  title 
As  follows:     Woman  Taking  m  Cheese  from 
Fire-Escape. 

COLUMBINE  :    Well,  I  like  that !    So  that  is  all  I've 

meant 
To  you ! 


8  ARIA    DA    CAPO 


PIERROT  :  Hush !     All  at  once  I  am  become 

A  pianist.     I  will  image  you  in  sound.  .    .    . 
On   a   new   scale  .  .   .  Without   tonality.   .   .  . 
V'wace  senza   tempo   senza   tutto.    .    .    . 
Title:     Uptown  Express  at  Six  o'clock. 
Pour  me  a  drink. 

COLUMBINE:  Pierrot,  you  work  too  hard. 

You  need  a  rest.     Come  on  out  into  the  garden, 
And  sing  me  something  sad. 

PIERROT:  Don't  stand  so  near  me! 

I  am  become  a  socialist.     I  love 
Humanity;  but  I  hate  people.     Columbine, 
Put  on  your  mittens,  child ;  your  hands  are  cold. 

COLUMBINE:  My  hands  are  not  cold! 

PIERROT:  Oh,  I  am  sure  they  are. 

And  you  must  have  a  shawl  to  wrap  about  you, 
And  sit  by  the  fire. 

COLUMBINE:  Why,  I'll  do  no  such  thing! 

I'm  hot  as  a  spoon  in  a  teacup ! 

PIERROT  :  Columbine, 

I'm  a  philanthropist.     I  know  I  am, 
Because  I  feel  so  restless.    Do  not  scream, 
Or  it  will  be  the  worse  for  you ! 


ARIA    DA    CAPO  9 


COLUMBINE  :  Pierrot, 

My  vinaigrette !     I  cannot  live  without 
My  vinaigrette! 

PIERROT:  My  only  love,  you  are 

So  fundamental!     .     .     .     How  would  you  like 

to  be 

An  actress,  Columbine?  —  I  am  become 
Your  manager. 

COLUMBINE  :  Why,  Pierrot,  /  can't  act. 

PIERROT:     Can't  act!     Can't  act!     La,  listen  to 

the  woman ! 
What's  that  to  do  with  the  price  of  furs  ?  — 

You're  blonde, 
Are  you  not?  —  you  have  no  education,  have 

you?  — 
Can't  act !    You  under-rate  yourself,  my  dear ! 

COLUMBINE:  Yes,  I  suppose  I  do. 

PIERROT:  As  for  the  rest, 

I'll  teach  you  how  to  cry,  and  how  to  die, 
And  other  little  tricks ;  and  the  house  will  love 

you. 

You'll  be  a  star  by  five  o'clock  .  .  .  that  is, 
If  you  will  let  me  pay  for  your  apartment. 


10  ARIA    DA    CAPO 


COLUMBINE:  Let  you?  —  well,  that's  a  good  one! 
Ha!  Ha!  Ha! 
But  why? 

PIERROT:    But  why?  —  well,  as  to  that,  my  dear, 
I  cannot  say.     It's  just  a  matter  of  form. 

COLUMBINE  :      Pierrot,  I'm  getting  tired  of  caviar 
And  peacocks'   livers.      Isn't  there  something 

else 

That  people  eat  ?  —  some  humble  vegetable, 
That  grows  in  the  ground? 

PIERROT:  Well,  there  are  mushrooms. 

COLUMBINE  :  Mushrooms ! 

That's  so!     I  had  forgotten     .     .     .     mush 
rooms     .     .     .     mushrooms.     .     . 
I  cannot  live  with.  .  .  .  How  do  you  like  this 
gown? 

PIERROT:  Not  much.  I'm  tired  of  gowns  that 
have  the  waist-line 

About  the  waist,  and  the  hem  around  the  bot 
tom, — 

And  women  with  their  breasts  in  front  of 
them!  — 

Zut  and  ehe  !     Where  does  one  go  from  here  I 


ARIA    DA    CAPO  11 


COLUMBINE:  Here's  a  persimmon,  love.     You  al 
ways  liked  them. 

PIERROT  :      I  am  become  a  critic ;  there  is  nothing 
I  can  enjoy.  .  .  .  However,  set  it  aside; 
I'll  eat  it  between  meals. 

COLUMBINE:  Pierrot,  do  you  know, 

Sometimes  I  think  you're  making  fun  of  me. 

PIERROT:      My    love,   by   yon    black   moon,   you 
wrong  us  both. 

COLUMBINE  :  There  isn't  a  sign  of  a  moon,  Pierrot. 

PIERROT:  Of  course  not. 

There  never  was.     "Moon's"  just   a  word  to 

swear  by. 
"Mutton !" —  now  there's  a  thing  you  can  lay 

the  hands  on, 

And  set  the  tooth  in!     Listen,  Columbine: 
I  always  lied  about  the  moon  and  you. 
Food  is  my  only  lust. 

COLUMBINE:  Well,  eat  it,  then, 

For  Heaven's  sake,  and  stop  your  silly  noise! 
I  haven't  heard  the  clock  tick  for  an  hour. 

PIERROT:     It's  ticking  all  the  same.     If  you  were 
a  fly, 


12  ARIA    DA    CAPO 


You  would  be  dead  by  now.     And  if  I  were  a 

parrot, 
I  could  be  talking  for  a  thousand  years ! 

(Enter  COTHURNUS.) 

PIERROT:     Hello,  what's  this,  for  God's  sake?  — 
What's  the  matter? 
Say,  whadda  you  mean?  —  get  off  the  stage, 

my  friend, 
And  pinch  yourself, —  you're  walking  in  your 

sleep! 

COTHURNUS:  I  never  sleep. 

PIERROT:  Well,  anyhow,  clear  out. 

You  don't  belong  on  here.     Wait  for  your  own 

scene ! 
Whadda  you  think  this  is, —  a  dress-rehearsal? 

COTHURNUS:     Sir,  I  am  tired  of  waiting.     I  will 

wait 
No  longer. 

PIERROT  :  Well,  but  whadda  you  going  to  do  ? 

The  scene  is  set  for  me! 

COTHURNUS:  True,  sir;  yet  I 

Can  play  the  scene. 


ARIA    DA    CAPO  13 


PIERROT  :  Your  scene  is  down  for  later ! 

COTHURNUS:   That,  too,  is  true,  sir;  but  I  play  it 
now. 

PIERROT:      Oh,  very  well!  —  Anyway,  I  am  tired 
Of  black  and  white.     At  least,  I  think  I  am. 

(Exit  COLUMBINE.) 

Yes,  I  am  sure  I  am.     I  know  what  I'll  do !  — 
I'll  go  and  strum  the  moon,  that's  what  I'll 

do.  ... 
Unless,  perhaps  .  .  .  you  never  can  tell  .  .  . 

I  may  be, 

You  know,  tired  of  the  moon.     Well,  anyway, 
I'll  go  find  Columbine.  .  .  .  And  when  I  find 

her, 

I  will  address  her  thus:  "Ehe,  Pierrette!" — 
There's  something  in  that. 

(Exit  PIERROT.) 

COTHURNUS:  You,  Thyrsis!     Corydon! 

Where  are  you? 

THYRSIS :  (Off  stage.)    Sir,  we  are  in  our  dressing- 
room! 

COTHURNUS:  Come  out  and  do  the  scene. 


14  ARIA    DA    CAPO 


COEYDON:  (Off  stage.)     You  are  mocking  us! — 
The  scene  is  down  for  later. 

COTHUENUS:  That  is  true; 

But  we  will  play  it  now.     I  am  the  scene. 
(Seats  himself  on  high  place  m  back  of  stage.) 

(Enter  COEYDON  and  THYESIS.) 

COEYDON  :  Sir,  we  are  counting  on  this  little  hour. 
We  said,  "Here  is  an  hour, —  in  which  to  think 
A  mighty  thought,  and  sing  a  trifling  song, 
And  look  at  nothing." —  And,  behold !  the  hour, 
Even  as  we  spoke,  was  over,  and  the  act  begun, 
Under  our  feet! 

THYESIS:  Sir,  we  are  not  in  the  fancy 

To  play  the  play.    We  had  thought  to  play  it 
later. 

COEYDON  :    Besides,  this  is  the  setting  for  a  farce. 
Our  scene  requires  a  wall ;  we  cannot  build 
A  wall  of  tissue-paper! 

THYESIS:  We  cannot  act 

A  tragedy  with  comic  properties! 

COTHUENUS  :      Try  it  and  see.    I  think  you'll  find 
you  can. 


ARIA    DA    CAPO  15 


One  wall  is  like  another.     And  regarding 
The  matter  of  your  insufficient  mood, 
The  important  thing  is  that  you  speak  the  lines, 
And   make  the   gestures.      Wherefore   I    shall 

remain 
Throughout,  and  hold  the  prompt-book.     Are 

you  ready? 

CORYDON-THYRSIS :  (Sorrowfully.)  Sir,  we  are 
always  ready. 

COTHURNUS:  Play  the  play! 

(CORYDON  and  THYRSIS  move  the  table  and  chairs 
to  one  side  out  of  the  way,  and  seat  them 
selves  m  a  half-reclining  position  on  the 
floor.) 

THYRSIS  :  How  gently  in  the  silence,  Corydon, 

Our  sheep  go  up  the  bank.     They  crop  a  grass 
That's  yellow  where  the  sun  is  out,  and  black 
Where  the  clouds  drag  their  shadows.     Have 

you  noticed 

How  steadily,  yet  with  what  a  slanting  eye 
They  graze? 

CORYDON:       As  if  they  thought  of  other  things. 
What  say  you,  Thyrsis,  do  they  only  question 


16  AEIA    DA    CAPO 


Where  next  to  pull  ?  —  Or  do  their  far  minds 

draw  them 
Thus  vaguely  north  of  west  and  south  of  east? 

THYRSIS:  One  cannot  say.  .  .  .  The  black  lamb 

wears  its  burdocks 

As  if  they  were  a  garland, —  have  you  noticed  ? 
Purple  and  white  —  and  drinks  the  bitten  grass 
As  if  it  were  a  wine. 

CORYDON:  I've  noticed  that. 

What  say  you,  Thyrsis,  shall  we  make  a  song 
About  a  lamb  that  thought  himself  a  shepherd? 

THYRSIS:    Why,    yes!  —  that    is,    why, — no.      (I 
have  forgotten  my  line.) 

COTHURNUS  :  (Prompting.)   "I  know  a  game  worth 
two  of  that." 

THYRSIS:     Oh,  yes.   ...   I  know  a  game  worth 

two  of  that ! 

Let's  gather  rocks,  and  build  a  wall  between  us ; 
And  say  that  over  there  belongs  to  me, 
And  over  here  to  you! 

CORYDON:  Why, —  very  well. 

And  say  you  may  not  come  upon  my  side 
Unless  I  say  you  may ! 


ARIA    DA    CAPO  17 


THYRSIS:  Nor  you  on  mine! 

And  if  you  should,  'twould  be  the  worse  for 
you! 

(They  weave  a  wall  of  colored  crepe  paper  rib 
bons  from  the  centre  front  to  the  centre  back 
of  the  stage,  fastening  the  ends  to  COLUM 
BINE'S  chair  in  front  and  to  PIERROT'S  chair 
in  the  back.) 

CORYDON  :        Now  there's  a  wall  a  man  may  see 
s  across, 
But  not  attempt  to  scale. 

THYRSIS:  An  excellent  wall. 

CORYDON:       Come,  let  us  separate,  and  sit  alone 
A  little  while,  and  lay  a  plot  whereby 
We  may  outdo  each  other.     (They  seat  them 
selves  on  opposite  sides  of  the  wall.) 

PIERROT:  (Off  stage.)  Ehe,  Pierrette! 

COLUMBINE:  (Off  stage.)    My  name  is  Columbine! 
Leave  me  alone! 

THYRSIS:  (Coming  up  to  the  wall.) 

CorydonY  after  all,  and  in  spite  of  the  fact 

I  started  it  myself,  I  do  not  like  this 

So  very  much.     What  is  the  sense  of  saying 


18  AEIA    DA    CAPO 


I  do  not  want  you  on  my  side  the  wall? 
It  is  a  silly  game.     I'd  much  prefer 
Making  the  little  song  you  spoke  of  making, 
About  the  lamb,  you  know,  that  thought  himself 
A  shepherd !  —  what  do  you  say  ? 

(Pause.) 
CORYDON  :  (At  wall.)     (I  have  forgotten  the  line.) 

COTHURNUS:  (Prompting.)  "How  do  I  know  this 
isn't  a  trick?" 

CORYDON  :  Oh,  yes.  .  .  .  How  do  I  know  this  isn't 

a  trick 
To  get  upon  my  land? 

THYRSIS:  Oh,  Corydon, 

You  know  it's  not  a  trick.     I  do  not  like 
The  game,  that's  all.     Come  over  here,  or  let 

me 
Come  over  there. 

CORYDON  :  It  is  a  clever  trick 

To  get  upon  my  land.     (Seats  himself  as  be 
fore.) 

THYRSIS:  Oh,  very  well!  (Seats  himself  as  be 
fore.)  (To  himself.)  I  think  I  never  knew  a 
sillier  game. 


ARIA    DA    CAPO  19 


CORYDON:    (Coming  to  wall.) 

Oh,  Thyrsis,  just  a  minute !  —  all  the  water 
Is   on  your  side  the  wall,   and  the  sheep   are 

thirsty. 
I  hadn't  thought  of  that. 

THYRSIS  Oh,  hadn't  you? 

CORYDON:  Why,  what  do  you  mean? 

THYRSIS:  What  do  I  mean?  —  I  mean 

That  I  can  play  a  game  as  well  as  you  can. 
And  if  the  pool  is  on  my  side,  it's  on 
My  side,  that's  all. 

CORYDON:  You  mean  you'd  let  the  sheep 

Go  thirsty? 

THYRSIS  :      Well,  they're  not  my  sheep.    My  sheep 
Have  water  enough. 

CORYDON  :      Your  sheep !     You  are  mad,  to  call 

them 

Yours  —  mine  —  they  are  all  one  flock !    Thyr 
sis,  you  can't  mean 

To  keep  the  water  from  them,  just  because 
They  happened  to  be  grazing  over  here 
Instead  of  over  there,  when  we  set  the  wall  up? 


20  ARIA    DA    CAPO 


THYRSIS  :  Oh,  can't  I  ? —  wait  and  see !  —  and  if 

you  try 
To  lead  them  over  here,  you'll  wish  you  hadn't ! 

CORYDON  :    I  wonder  how  it  happens  all  the  water 
Is  on  your  side.  .  .  .  I'll  say  you  had  an  eye 

out 

For  lots  of  little  things,  my  innocent  friend, 
When  I  said,  "Let  us  make  a  song,"  and  you 

said, 
"I  know  a  game  worth  two  of  that !" 

COLUMBINE:    (Off  stage.)  Pierrot, 

D'you  know,  I  think  you  must  be  getting  old, 
Or  fat,  or  something, —  stupid,  anyway !  — 
Can't  you  put  on  some  other  kind  of  collar? 

THYRSIS:       You  know  as  well  as  I  do,  Corydon, 
I  never  thought  anything  of  the  kind. 
Don't  you? 

CORYDON:  I  do  not. 

THYRSIS  :  Don't  you  ? 

CORYDON:  Oh,  I  suppose  so. 

Thyrsis,  let's  drop  this, —  what  do  you  say  ?  — 

it's  only 

A  game,  you  know  ...  we  seem  to  be  forget 
ting 


ARIA    DA    CAPO  21 


It's  only  a  game  ...  a  pretty  serious  game 
It's  getting  to  be,  when  one  of  us  is  willing 
To  let  the  sheep  go  thirsty  for  the  sake  of  it. 

THYRSIS:  I  know  it,  Corydon. 

(Tliey  reach  out  their  arms  to  each  other  across 
the  watt.) 

COTHURNUS:    (Prompting.)  "But   how   do   I 

know  — " 

THYRSIS:   Oh,  yes.  .  .  .  But  how  do  I  know  this 

isn't  a  trick 
To  water  your  sheep,  and  get  the  laugh  on  me? 

CORYDON:     You  can't  know,  that's  the  difficult 

thing  about  it, 
Of  course, —  you  can't  be  sure.     You  have  to 

take 

My  word  for  it.    And  I  know  just  how  you  feel. 
But  one  of  us  has  to  take  a  risk,  or  else, 
Why,  don't  you  see  ?  —  the  game  goes  on  for 
ever!  .  .  . 

It's  terrible,  when  you  stop  to  think  of  it.  .  .  . 
Oh,  Thyrsis,  now  for  the  first  time  I  feel 
This  wall  is  actually  a  wall,  a  thing 
Come  up  between  us,  shutting  you  away 
From  me.  ...  I  do  not  know  you  any  more! 


22  ARIA    DA    CAPO 


THYESIS:  No,  don't  say  that!     Oh,  Corydon,  I'm 

willing 

To  drop  it  all,  if  you  will !    Come  on  over 
And  water  your  sheep !    It  is  an  ugly  game. 
I  hated  it  from  the  first.  .  .  .  How  did  it  start? 

VVyV 

COEYDON  :  I  do  not  know  ...  I  do  not  know  .  .  . 

I  think  V 

I  am  afraid  of  you!  —  you  are  a  stranger! 
I  never  set  eyes  on  you  before!  "Come  over 
And  water  my  sheep,",  indeed !  —  They'll  be 

more  thirsty 

Than  they  are  now  before  I  bring  them  over 
Into  your  land,  and  have  you  mixing  them  up 
With  yours,  and  calling  them  yours,  and  trying 

to  keep  them ! 

(Enter  COLUMBINE.) 

COLUMBINE:  (To  COTHURNUS.)     Glummy,  I  want 
my  hat. 

THYESIS:  Take  it,  and  go. 

COLUMBINE:  Take  it  and  go,  indeed!     Is  it  my 

hat, 

Or  isn't  it?     Is  this  my  scene,  or  not? 
Take  it  and  go !    Really,  you  know,  you  two 
Are  awfully  funny! 


ARIA    DA    CAPO  23 


(Exit  COLUMBINE.) 

THYRSIS:  Corydon,  my  friend, 

I'm  going  to  leave  you  now,  and  whittle  me 
A  pipe,  or  sing  a  song,  or  go  to  sleep. 
When  you  have  come  to  your  senses,  let  me 

know. 
(Goes  back  to  where  he  has  been  sitting,  lies  down 

and  sleeps.) 

(  CORYDON,  in  going  back  to  where  he  has  been 
sitting,  stumbles  over  bowl  of  colored  con 
fetti  and  colored  paper  ribbons.) 

CORYDON  :  Why,  what  is  this  ? —  Red  stones  —  and 

purple  stones  — 
And  stones  stuck  full  of  gold !  —  The  ground 

is  full 
Of  gold  and  colored  stones !  .  .  .  I'm  glad  the 

wall 

Was  up  before  I  found  them!  —  Otherwise, 
I  should  have  had  to  share  them.^  As  it  is, 
They    all    belong    to    me.  .  .  .  Unless  —  (He 

goes  to  wall  and  digs  up  and  down  the  length 

of  it,  to  see  if  there  are  jewels  on  the  other 

side.)     None  here 

None  here  —  none  here  —  They  all  belong  to 

me!     (Sits.) 


24  ARIA    DA    CAPO 


THYRSIS:  (Awakening.)     How  curious!    I  thought 

the  little  black  lamb 

Came  up  and  licked  my  hair;  I  saw  the  wool 
About  its  neck  as  plain  as  anything! 
It  must  have  been  a  dream.     The  little  black 

lamb 
Is  on  the  other  side  of  the  wall,  I'm  sure.   (Goes 

to  wall  and  looks  over.     CORYDON  is  seated 

on  the  ground,  tossing  the  confetti  up  mto 

the  air  and  catching  it.) 
Hello,  what's  that  you've  got  there,  Corydon? 

CORYDON:  Jewels. 

THYRSIS  :    Jewels  ?  —  And  where  did  you  ever  get 
them  ? 

CORYDON:  Oh,  over  here. 

THYRSIS:  You  mean  to  say  you  found  them, 

By  digging  around  in  the  ground  for  them? 

CORYDON:  (Unpleasantly.)  No,  Thyrsis, 

By  digging  down  for  water  for  my  sheep. 


THYRSIS  :  Corydon,  come  to  the  wall  a  minute,  will 

you? 
I  want  to  talk  to  you. 


ARIA    DA    CAPO  25 


CORYDON:  I  haven't  time. 

I'm  making  me  a  necklace  of  red  stones. 

THYRSIS  :  I'll  give  you  all  the  water  that  you  want, 
For  one  of  those  red  stones, —  if  it's  a  good 
one. 

CORYDON  :  Water?  —  what  for?  —  what  do  I  want 
of  water? 

THYRSIS:  Why,  for  your  sheep! 

CORYDON  :  My  sheep?  —  I'm  not  a  shepherd ! 

THYRSIS:  Your  sheep  are  dying  of  thirst. 

CORYDON:  Man,  haven't  I  told  you 

I  can't  be  bothered  with  a  few  untidy 
Brown  sheep  all  full  of  burdocks  ?  —  I'm  a  mer 
chant. 

That's  what  I  am !  —  And  if  I  set  my  mind  to  it 
I  dare  say  I  could  be  an  emperor ! 
(To  himself.)     Wouldn't  I  be  a  fool  to  spend 

my  time 

Watching  a  flock  of  sheep  go  up  a  hill, 
When  I  have  these  to  play  with  ?  —  when  I  have 

these 

To  think  about?  —  I  can't  make  up  my  mind 
Whether  to  buy  a  city,  and  have  a  thousand 


26  AEIA    DA    CAPO 


Beautiful  girls  to  bathe  me,  and  be  happy 
Until  I  die,  or  build  a  bridge,  and  name  it 
The  Bridge  of  Corydon, —  and  be  remembered 
After  I'm  dead. 

THYESIS:  Corydon,  come  to  the  wall, 

Won't  you  ?  —  I  want  to  tell  you  something. 

CORYDON:  Hush! 

Be  off !   Be  off !  Go  finish  your  nap,  I  tell  you ! 

THYESIS:    Corydon,    listen:    if    you    don't    want 

your  sheep, 
Give  them  to  me. 

COEYDON  :  Be  off !  Go  finish  your  nap. 

A  red  one  —  and  a  blue  one  —  and  a  red  one  — 
And  a  purple  one  —  give  you  my  sheep,  did 

you  say  ?  — 
Come,  come!     What  do   you  take  me  for,  a 

fool? 
I've  a  lot  of  thinking  to  do, —  and  while  I'm 

thinking, 

The  sheep  might  just  as  well  be  over  here 
As  over  there.  ...  A  blue  one  —  and  a  red 

one  — 

THYBSIS:  But  they  will  die! 


ARIA    DA    CAPO  27 


CORYDON  :  And  a  green  one  —  and  a  couple 

Of  white  ones,  for  a  change. 

THYRSIS  :  Maybe  I  have 

Some  jewels  on  my  side. 

CORYDON:  And  another  green  one  — 

Maybe,  but  I  don't  think  so.    You  see,  this  rock 
Isn't  so  very  wide.     It  stops  before 
It  gets  to  the  wall.     It  seems  to  go  quite  deep, 
However. 

THYRSIS:  (With  hatred.)     I  see. 

COLUMBINE:   (Off  stage.)   Look,  Pierrot,  there's 
the  moon! 

PIERROT:  (Off  s tage.)     Nonsense! 

THYRSIS:  I  see. 

COLUMBINE:  (Off  stage.)     Sing  me  an  old  song, 

Pierrot, — 
Something  I  can  remember. 

PIERROT:  (Off  stage.)  Columbine. 

Your  mind  is   made  of  crumbs, —  like  an  es 
callop 

Of  oysters, —  first  a  layer  of  crumbs,  and  then 
An  oystery  taste,  and  then  a  layer  of  crumbs. 


28  ARIA    DA    CAPO 


THYRSIS  (Searching.)     I  find  no  jewels  .  .  .  but 

I  wonder  what 

The  root  of  this  black  weed  would  do  to  a  man 
If  he  should  taste  it  ...  I  have  seen  a  sheep 

die, 
With   half   the   stalk    still   drooling   from   its 

mouth. 

'Twould  be  a  speedy  remedy,  I  should  think, 
For  a  festered  pride  and  a  feverish  ambition. 
It  has  a  curious  root.     I  think  I'll  hack  it 
In  little  pieces  .  .  .  First  I'll  get  me  a  drink; 
And  then  I'll  hack  that  root  in  little  pieces 
As  small  as  dust,  and  see  what  the  color  is 
Inside.     (Goes  to  bowl  on  floor.) 

The  pool  is  very  clear.     I  see 
A  shepherd  standing  on  the  brink,  with  a  red 

cloak 

About  him,  and  a  black  weed  in  his  hand.  ... 
'Tis  I.     (Kneels  and  drinks.) 

CORYDON:  (Coming  to  wall.)  Hello,  what  are  you 
doing,  Thyrsis? 

THYRSIS:  Digging  for  gold. 

CORYDON:  I'll  give  you  all  the  gold 

You  want,  if  you'll  give  me  a  bowl  of  water. 
If  you  don't  want  too  much,  that  is  to  say. 


ARIA    DA    CAPO  29 


THYRSIS:  Ho,  so  you've  changed  your  mind?  — 

It's  different, 
Isn't  it,  when  you  want  a  drink  yourself? 

CORYDON  :    Of  course  it  is. 

THYRSIS:  Well,  let  me  see  ...  a  bowl 

Of  water, —  come  back  in  an  hour,  Corydon. 
I'm  busy  now. 

CORYDON:  Oh,  Thyrsis,  give  me  a  bowl 

Of  water !  —  and  I'll  fill  the  bowl  with  jewels, 
And  bring  it  back! 

THYRSIS  :  Be  off,  I'm  busy  now. 

(He  catches  sight  of  the  weed,  picks  it  up  and 

looks  at  it,  unseen  by  CORYDON.) 
Wait !  —  Pick   me   out   the    finest    stones   you 

have  .  .  . 
I'll  bring  you  a  drink  of  water  presently. 

CORYDON:     (Goes  back  and  sits  down,  with  the 

jewels  before  him.) 
A  bowl  of  jewels  is  a  lot  of  jewels. 

THYRSIS:  (Chopping  up  the  weed.)     I  wonder  if 
it  has  a  bitter  taste. 

CORYDON:   There's    sure   to   be   a   stone   or   two 
among  them 


30  AKIA    DA    CAPO 


I  have  grown  fond  of,  pouring  them  from  one 

hand 
Into  the  other. 

THYRSIS  :  I  hope  it  doesn't  taste 

Too  bitter,  just  at  first. 

COEYDON:  A  bowl  of  jewels 

Is  far  too  many  jewels  to  give  away 
And  not  get  back  again. 

THYRSIS:  I  don't  believe 

He'll  notice.     He's  too  thirsty.     He'll  gulp  it 

down 
And  never  notice. 

CORYDON:  There  ought  to  be  some  way 

To   get    them   back   again.  ...  I    could   give 

him  a  necklace, 

And  snatch  it  back,  after  I'd  drunk  the  water, 
I  suppose.  .  .  .  Why,  as  for  that,  of  course,  a 

necklace.  .  .  . 

(He  puts  two  or  three  of  the  colored  tapes  to 
gether  and  tries  their  strength  by  pulling 
them,  after  which  he  puts  them  around  his 
neck  and  pulls  them,  gently,  nodding  to  him 
self.  He  gets  up  and  goes  to  the  wall,  with 
the  colored  tapes  m  his  hands.) 


ARIA    DA    CAPO  31 


(THYRSIS  m  the  meantime  has  poured  the  powdered 
root — black  confetti  —  into  the  pot  which 
contained  the  flower  and  filled  it  up  with  wine 
from  the  punch-bowl  on  the  floor.  He  comes 
to  the  watt  at  the  same  time,  holding  the  bowl 
of  poison.) 

THYRSIS  :  Come,  get  your  bowl  of  water,  Corydon. 

CORYDON  :  Ah,  very  good !  —  and  for  such  a  gift 
as  that 

I'll  give  you  more  than  a  bowl  of  unset  stones. 

I'll  give  you  three  long  necklaces,  my  friend. 

Come  closer.  Here  they  are.  (Puts  the  rib 
bons  about  THYRSIS'  neck.) 

THYRSIS:    (Putting   bowl    to    CORYDON'S   mouth.) 
I'll  hold  the  bowl 
Until  you've  drunk  it  all. 

CORYDON:  Then  hold  it  steady. 

For  every  drop  you  spill  I'll  have  a  stone  back 
Out  of  this  chain. 

THYRSIS  :  I  shall  not  spill  a  drop. 

(CORYDON  drinks,  meanwhile  beginning  to  strangle 
THYRSIS.) 

THYRSIS:  Don't  pull  the  string  so  tight. 


32  ARIA    DA    CAPO 


CORYDON:  You're  spilling  the  water. 

THYRSIS:  You've  had  enough  —  you've  had 

enough  —  stop  pulling 
The  string  so  tight! 

CORYDON:  Why,  that's  not  tight  at  all  .  .  . 

How's  this? 

THYRSIS:  (Drops  bowl.)     You're  strangling  me! 

Oh,  Corydon ! 
It's  only  a  game !  —  and  you  are  strangling  me ! 

CORYDON :   It's  only  a  game,  is  it?  —  Yet  I  believe 
You've  poisoned  me  in  earnest!     (Writhes  and 

pulls  the  strings  tighter,  winding  them  about 

THYRSIS'  neck.) 
THYRSIS:  Corydon!  (Dies.) 

CORYDON:  You've  poisoned  me  in  earnest.  ...  I 

feel  so  cold.  .  .  . 

So  cold  .  .  .  this  is  a  very  silly  game.  .  .  . 
Why  do  we  play  it  ? —  let's  not  play  this  game 
A  minute  more  .  .  .  let's  make  a  little  song 
About  a  lamb.  .  .  .  I'm  coming  over  the  wall, 
No  matter  what  you  say, —  I  want  to  be  near 

you.  .  .  . 
(Groping  his  way,  with  arms  wide  before  him,  he 

strides  through  the  frail  papers  of  the  watt 


ARIA    DA    CAPO  33 


without  knowing  it,  and  continues  seeking  for 

the  wall  straight  across  the  stage.) 
Where  is  the  wall?     {Gropes  his  way  back,  and 

stands    very   near   THYRSIS    without   seeing 

him;  he  speaks  slowly.) 

There  isn't  any  wall, 
I  think.  {Takes  a  step  forward,  his  foot 

touches  THYRSIS'  body,  and  he  falls  down 

beside  him.) 

Thyrsis,  where  is  your  cloak?  —  just  give  me 
A  little  bit  of  your  cloak!  .  .  .   (Draws  corner 

of  THYRSIS'  cloak  over  his  shoulders,  falls 

across  THYRSIS'  body,  and  dies.) 

(COTHURNUS  closes  the  prompt-book  with  a  bang, 
arises  matter-of-factly,  comes  down  stage, 
and  places  the  table  over  the  two  bodies, 
drawing  down  the  cover  so  that  they  are 
hidden  from  any  actors  on  the  stage,  but 
visible  to  the  audience,  pushing  in  their  feet 
and  hands  with  his  boot.  He  then  turns  his 
back  to  the  audience,  and  claps  his  hands 
twice. ) 

COTHURNUS :  Strike  the  scene !  (Exit  COTHURNUS.) 
(Enter  PIERROT  and  COLUMBINE.) 


34  ARIA    DA    CAPO 


PIERROT:  Don't  puff  so,  Columbine! 

COLUMBINE  :  Lord,  what  a  mess 

This  set  is  in !    If  there's  one  thing  I  hate 
Above  everything  else, —  even  more  than  get 
ting  my  feet  wet  — 
It's  clutter !  —  He  might  at  least  have  left  the 

scene 
The  way  he  found  it  ...  don't  you  say   so, 

Pierrot? 

(She  picks  up  punch  bowl.     They  arrange  chairs 
as  before  at  ends  of  table.) 

PIERROT:  Well,  I  don't  know.  I  think  it  rather 

diverting 

The  way  it  is.          (Yawns,  picks  up  confetti 

bowl.)  Shall  we  begin? 

COLUMBINE:    (Screams.)  My  God! 

What's  that  there  under  the  table? 

PIERROT:  It  is  the  bodies 

Of  the  two  shepherds  from  the  other  play. 

COLUMBINE:    (Slowly.)     How  curious  to  strangle 

him  like  that, 
With  colored  paper  ribbons. 


ARIA    DA    CAPO 


PIERROT :  Yes,  and  yet 

I  dare  say  he  is  just  as  dead.    (Pauses.   Calls.) 

Cothurnus ! 

Come  drag  these  bodies  out  of  here !    We  can't 
Sit  down  and  eat  with  two  dead  bodies  lying 
Under  the  table!  .  .  .  The  audience  wouldn't 

stand  for  it ! 

COTHURNUS:  (Off  stage.)  What  makes  you  think 

so?  — 

Pull  down  the  tablecloth 
On   the   other   side,    and   hide   them   from   the 

house, 
And  play  the  farce.     The  audience  will  forget. 

PIERROT:  That's  so.  Give  me  a  hand  there, 
Columbine. 

(PIERROT  and  COLUMBINE  pull  down  the  table 
cover  in  such  a  way  that  the  two  bodies  are 
hidden  from  the  house,  then  merrily  set  their 
bowls  back  on  the  table,  draw  up  their  chairs, 
and  begin  the  play  exactly  as  before.) 

COLUMBINE  :  Pierrot,  a  macaroon, —  I  cannot  live 
without  a  macaroon! 


36  ARIA    DA    CAPO 


PIERROT:  My  only  love, 

You  are  so  intense !  .   .   .  Is  it  Tuesday,  Colum 
bine?  — 

I'll  kiss  you  if  it's  Tuesday.     (Curtains  begin 
to  close  slowly.) 

COLUMBINE  :  It  is  Wednesday, 

If  you  must  know.  ...  Is  this  my  artichoke 
Or  yours  ? 

PIERROT:  Ah,  Columbine,  as  if  it  mattered! 

Wednesday.  .   .   .  Will  it  be  Tuesday,  then,  to 
morrow, 
By  any  chance?  .  .   . 


[CURTAIN.] 


AUTHOR'S  NOTE 

ON    THE    PLAYING    OF 

ARIA  DA  CAPO 


ORIGINAL  CAST 


[AS  PLAYED  BY  THE  PROVINCETOWN  PLAYERS,  NEW 
YORK   CITY] 


PIERROT 

COLUMBINE 

COTHURNUS 

CORYDON 

THYRSIS 


HARRISON  DOWD 

NORMA  MlLLAY 

HUGH  FERRISS 
CHARLES  ELLIS 
JAMES  LIGHT 


AUTHOR'S  NOTE 

SO  great  is  my  vexation  always,  when  reading 
a  play,  to  find  its  progress  constantly  being 
halted  and  its  structure  loosened  by  elaborate 
explanatory  parentheses,  that  I  resolved  when  I 
should  publish  Aria  da  Capo  to  incorporate  into 
its  text  only  those  explanations  the  omission  of 
which  might  confuse  the  reader  or  lend  a  wrong 
interpretation  to  the  lines.  Since,  however,  Aria 
da  Capo  was  written  not  only  to  be  read  but  also 
to  be  acted,  and  being  conscious  that  the  exclusion 
of  the  usual  directions,  while  clarifying  the  play 
to  the  reader,  may  make  it  bare  of  suggestions 
and  somewhat  baffling  to  the  producer,  I  am  add 
ing  here  some  remarks  which  have  been  found  of 
value  in  preparing  it  for  presentation  on  the 
stage. 

Since  the  production  of  Aria  da  Capo  by  the 
Provincetown  Players,  I  have  received  a  great 
many  letters  from  the  directors  of  little  theatres, 
asking  for  copies  of  it  with  a  view  to  producing 
it.  Very  often,  after  I  send  the  play,  I  receive 
41 


42  AEIA    DA    CAPO 


a  letter  in  reply  asking  for  some  suggestions  for 
its  presentation,  and  enclosing  direct  questions 
on  points  that  have  been  difficult.  It  occurred  to 
me  finally  that  it  would  be  reasonable  to  make  up 
a  sort  of  informal  prompt-book  to  send  about  with 
the  play ;  and  it  is  that  which  is  printed  below.  It 
will  be  found  incomplete,  and  uneven,  in  some  in 
stances  unnecessarily  detailed,  in  others  not  suf 
ficiently  so;  all  of  which  is  due  to  the  fact  that 
it  was  put  together  loosely,  from  answers  to 
chance  questions,  rather  than  logically,  as  an 
entity  in  itself. 


SUGGESTIONS    FOR    THE    PRODUCTION 
OF  "ARIA  DA  CAPO" 

SETTING  : 

The  setting  required  is  simple :  —  a  grey  cur 
tain,  a  long  black  table,  two  slender  black  high- 
backed  chairs,  and  a  raised  platform. 

Instead  of  wings  and  back-drop  the  Province- 
town  Players  cleverly  utilized  painted  screens,  the 
heights  varying  from  6  to  10  feet,  these  being  set 
right  and  left  of  the  stage  in  such  manner  as  to 
give  the  effect  of  depth  and  distance. 

The  table,  six  feet  long  and  two  feet  wide,  has 
thin  legs  and  is  painted  black. 

When  Pierrot  and  Columbine  enter  in  the  final 
scene,  it  is  not  necessary  that  the  table  which 
Cothurnus  has  replaced  shall  entirely  conceal  the 
bodies  of  Thyrsis  and  Corydon.  Pierrot  and 
Columbine  must  ignore  them  until  the  lines  indi 
cate  their  discovery,  no  matter  how  they  may  have 
fallen. 

Particular  attention  must  be  given  to  the  chairs 
in  this  set.  They  are  used  to  construct  the  tis- 

43 


44  ARIA    DA    CAPO 


sue-paper  wall,  and,  although  delicate,  should 
be  heavy  enough  to  remain  solid  and  steady,  up 
and  down  stage,  without  the  possibility  of  an  up 
set  when  Corydon  strides  through  the  wall. 

Near  the  footlights  (actors'  left)  are  two 
sofa  pillows,  used  to  represent  the  rocks  against 
which  the  shepherds  lean.  On  the  left  of  the  stage 
have  another  pillow,  which  Thyrsis  places  under 
his  head  when  he  lies  down  to  sleep.  Use  cloth  or 
crepe  paper  for  these  pillows,  and  have  them  of 
spotted  black  and  white  material,  or  of  any  gay 
color  except  red  or  blue. 

Cothurnus  occupies  a  chair  upon  a  platform, 
up-stage,  centre,  with  two  or  three  steps  surround 
ing  it  on  three  sides.  Drape  this  with  plain  heavy 
black  cloth. 

The  table  covering  is  important.  Its  width  is 
equal  to  that  of  the  added  height  and  width  of 
the  table.  As  it  must  be  moved  to  cover  the  bodies 
of  Thyrsis  and  Corydon,  it  should  be  of  sufficient 
weight  to  prevent  slipping.  It  will  be  well  to  ex 
periment  with  this,  to  ensure  proper  performance. 

The  cover  should  have  black  and  white  spots 
and  striped  ends. 

The  table  is  set  as  follows : —  two  large  wooden 
bowls  (at  least  seven  inches  high  and  fourteen 


ARIA    DA    CAPO  45 


inches  in  diameter) .  One  is  placed  at  each  end  of 
the  table.  That  at  Columbine's  end  should  con 
tain  persimmons,  pomegranates,  grapes  and  other 
bright  exotic  fruits.  Pierrot's  bowl  has  confetti 
and  colored  paper  ribbons,  the  latter  showing 
plainly  over  the  edge.  (If  Columbine  uses  prac 
tical  macaroons,  put  them  into  this  bowl.) 

Near  Columbine,  place  a  practical  uncooked 
artichoke;  have  this  of  good  size,  and  nail  it  to 
a  wooden  standard,  painted  black.  At  both 
places  there  are  tall  white  wooden  goblets. 

In  the  centre  of  the  table  there  should  be  a 
curious,  grotesque,  but  very  gay  flower,  standing 
upright  in  a  pot  of  wood  or  heavy  paper,  which 
will  not  break  when  Thyrsis  drops  it.  Concealed 
at  the  root  of  this  plant  there  should  be  a  small 
sack  of  black  confetti,  to  be  used  in  the  "poison 
scene." 

The  table  should  be  set  with  nothing  but  these 
articles,  and  yet  give  the  appearance  of  bounty 
and  elegance. 

Place  the  table  parallel  with  the  footlights, — 
the  long  side  toward  the  audience. 

Columbine's  chair  is  at  the  actors'  right,  and 
Pierrot's  opposite  —  Columbine's  hat  hangs  from 


46  ARIA    DA    CAPO 


her  chair-top.  Both  chairs  are  festooned  with 
tissue-paper  ribbons,  at  least  ten  feet  long,  to 
be  used  later  by  the  shepherds  to  represent  their 
wall.  These  must  be  of  such  a  texture  as  to  break 
readily  when  Corydon  walks  through,  and  a  pre 
arranged  transverse  tear  or  two  will  assist  in  the 
prompt  breakage  when  he  does  so. 

PROPERTIES  : 

Two  white  wooden  bowls,  one  filled  with  fruits  and 
the  other  with  confetti  and  paper  ribbons,—  one 
ribbon  to  be  of  cotton  or  silk,  in  order  to  be  not 
too  easily  broken  by  Corydon  when  strangling 
Thyrsis. 

Two  tall  white  wooden  goblets 
One  artichoke  nailed  to  a  standard 
One   flower   in   paper   or   wooden   pot,    the   root 
wrapped  with  black  crepe  paper  (or  use  confetti) 
Black  and  white  table-cloth 
Macaroons 

Boots  and  prompt-book  for  Cothurnus  (large  flat 
black  book) 

Also,  if  desired,  mask  of  Tragedy  for  Cothurnus 
Crepe  or  tissue  streamers  of  different  colors,  in 
cluding  no  red  or  blue,  for  wall. 


ABIA    DA    CAPO  47 


COSTUMES: 

PIERROT  :  Lavender  or  lilac  satin,  preferably  a 
blue-lavender.  Care  should  be  taken  that  the  lav 
ender  does  not  turn  pink  under  the  stage  lights. 
Pierrot's  costume  is  the  conventional  smock  with 
wide  trousers,  with  black  crepe  paper  rosettes  on 
the  smock,  wide  white  tarleton  ruff.  Black  even 
ing  pumps  with  black  rosettes  may  be  worn.  Black 
silk  skull-cap. 

COLUMBINE:  Tight  black  satin  bodice  cut  very 
low,  with  straps  over  the  shoulders,  quite  like  the 
modern  evening  gown;  very  full  tarleton  skirts 
of  different  shades  of  pink  and  cerise,  reaching  to 
the  knees ;  ruffled  bloomers  of  apple-green  tarleton, 
the  ruffles  showing  below  the  skirts ;  black  silk 
stockings  and  black  ballet  slippers,  laced  with 
green.  Hat  of  lavender  crepe  paper,  with  stream 
ers  of  gay  colors  —  including,  however,  no  clear 
red  or  blue.  Hat  should  be  small  and  very  smart 
—  not  a  shepherdess  hat.  Columbine  should  be 
made  up  to  suggest  a  doll.  As  originally  inter 
preted  she  had  short  light  hair,  standing  out 
bushily  all  over  her  head.  Long  hair  should  be 
rolled  under  to  give  a  bobbed  effect,  or  could  be 
arranged  in  obvious  caricature  of  some  extreme 


48  AKIA    DA    CAPO 


modern  style,  but  must  look  attractive,  and  must 
be  blonde. 

COTHURNUS:  Plain  toga  of  dull  purple  in  some 
heavy,  unreflecting  material  which  will  fall  into 
large  folds,  lined  with  sombre  flame-color;  a  gar 
ment  with  large  purple  sleeves,  of  which  only  the 
sleeves  were  visible,  was  worn  under  the  toga, — 
but  the  effect  should  be  classical;  heavy  boots 
should  be  worn,  as  nearly  as  possible  like  the 
tragic  Roman  buckskin ;  one  end  of  the  great  toga 
is  tied  into  a  rough  hood  which  covers  the  actor's 
head ;  a  mask  may  be  worn,  but  it  is  often  difficult 
to  speak  through,  and,  if  desired,  the  actor's  face 
may  be  made  up  to  represent  a  mask  of  Tragedy. 

THYRSIS  and  CORYDON  :  These  costumes  in  striking 
contrast  to  the  elegance  of  those  of  Pierrot  and 
Columbine,  should  be  very  simple,  and  very  rough 
ly  made;  short  tunics  of  outing-flannel  or  some 
such  material  —  fastened  loosely  over  one  shoul 
der, —  one  shoulder,  as  well  as  most  of  the  back 
and  breast,  exposed.  Legs  bare,  or  swathed  from 
the  knee  to  the  angle  in  rough  strips  of  the  same 
material.  Sandals.  Cloaks  of  heavier,  cheap  ma 
terial  fastened  to  the  tunics  in  such  a  way  that 
they  will  appear  to  be  simply  flung  over  the 


ARIA    DA    CAPO  49 


shoulder,  but  actually  fastened  very  cleverly  in 
order  to  avoid  tripping  the  shepherds,  who  are 
continually  sitting1  down  on  the  floor  and  getting 
up  again. 

Thyrsis  wears  a  dark  grey  tunic  and  cloak  of 
raw  bright  red, —  but  not  a  turkey-red,  as  this 
color  will  kill  the  blue  of  Corydon's  cloak.  Cory- 
don  wears  tunic  of  light  grey  and  cloak  of  bril 
liant  blue.  There  must  be  no  red  or  blue  used 
anywhere  in  the  entire  play  excepting  in  the  blue 
and  red  of  these  two  cloaks.  The  two  shepherds 
must  be  so  strong  and  vivid  in  every  way  that 
when  Columbine  comes  in  and  says,  "Is  this  my 
scene  or  not?"  it  will  seem  to  the  audience  that 
it  is  she,  not  the  shepherds,  who  is  hopelessly  out 
of  the  scene. 

CHARACTERS  : 

PIERROT:  Pierrot  sees  clearly  into  existing  evils 
and' is  rendered  gaily  cynical  by  them;  he  is  both 
too  indolent  and  too  indifferent  to  do  anything 
about  it.  Yet  in  several  lines  of  the  play  his  ac 
tual  unhappiness  is  seen, —  for  instance,  "Moon's 
just  a  word  to  swear  by,"  in  which  he  expresses 
his  conviction  that  all  beauty  and  romance  are 


50  ARIA    DA    CAPO 


fled  from  the  world.  At  the  end  of  the  play  the 
line,  "Yes,  and  yet  I  dare  say  he  is  just  as  dead," 
must  not  be  said  flippantly  or  cynically,  but  slow 
ly  and  with  much  philosophic  concentration  on 
the  thought.  From  the  moment  when  Columbine 
cries,  "What's  that  there  under  the  table?"  until 
Pierrot  calls,  "Cothurnus,  come  drag  these  bodies 
out  of  here!"  they  both  stand  staring  at  the  two 
bodies,  without  moving  in  any  way,  or  even  lifting 
their  eyes.  (This  same  holding  of  the  play  is 
used  several  times  also  by  the  shepherds, —  for 
instance,  always  during  the  off-stage  interpola 
tions,  they  stand  either  staring  at  each  other 
across  the  wall,  or  maintaining  whatever  other 
position  they  may  have  had  when  the  off-stage 
voice  begins  speaking,  until  the  interruption  is 
over,  when  they  resume  their  drama  quite  as  if 
nobody  had  spoken.)  Columbine's  "How  curious 
to  strangle  him  like  that"  is  spoken  extremely 
slowly,  in  a  voice  of  awe,  curiosity,  and  horror. 
For  a  moment  the  two  characters  seem  almost  to 
feel  and  be  subdued  by  the  tragedy  that  has  taken 
place.  They  remain  standing  very  quietly  while 
Cothurnus  speaks  his  final  lines  off  stage,  and  for 
a  moment  after  he  has  said,  "The  audience  will 
forget";  then  very  slowly  raise  their  eyes  and 


ARIA    DA    CAPO  51 


exchange  glances,  Pierrot  nods  his  head  curtly 
and  says,  "That's  so" ;  they  set  their  bowls  gaily 
back  on  the  table,  and  the  play  begins  again. 

Pierrot  in  such  lines  as  "Ah,  Columbine,  as  if 
it  mattered!"  speaks  with  mock  saccharine  ten 
derness;  but  in  such  lines  as  "If  you  were  a  fly 
you  would  be  dead  by  now !"  although  he  speaks 
very  gaily  his  malice  must  be  apparent  almost  even 
to  her;  Columbine  bores  him  to  death.  When  he 
says,  "I'll  go  and  strum  the  moon !"  he  is  for  the 
instant  genuinely  excited  and  interested;  he  is 
for  this  moment  like  a  child,  and  is  happy. 

COLUMBINE:  Pretty  and  charming,  but  stupid; 
she  never  knows  what  Pierrot  is  talking  about,  and 
is  so  accustomed  to  him  that  she  no  longer  pre 
tends  to  understand  him ;  but  she  js  very  proud 
of  him,  and  when  he  speaks  she  listens  with  trust 
ful  admiration.  Her  expression,  "I  cannot  live 
without"  this  or  that,  is  a  phrase  she  uses  in  or 
der  to  make  herself  more  attractive,  because  she 
believes  men  prefer  women  to  be  useless  and  ex 
travagant;  if  left  to  herself  she  would  be  a  do 
mestic  and  capable  person. 

COTHURNUS:  This  character  should  be  played  by  a 
tall  and  imposing  figure  with  a  tremendous  voice. 


52  ARIA    DA    CAPO 


The  voice  of  Cothurnus  is  one  of  the  most  impor 
tant  things  in  the  acting  play.  He  should  have  a 
voice  deeper  than  the  voice  used  by  any  of  the 
other  persons,  should  speak  weightily  and  with 
great  dignity,  but  almost  without  intonation,  and 
quite  without  feeling,  as  if  he  had  said  the  same 
words  many  times  before.  Only  in  his  last  speech 
may  he  be  permitted  a  comment  on  the  situation. 
This  speech  should  be  spoken  quite  as  impres 
sively  as  the  others  and  fully  as  slowly. 

CORYDON  and  THYRSIS:  These  two  characters  are 
young,  very  simple,  and  childlike;  they  are  acted 
upon  by  the  force  that  sits  on  the  back  of  the 
stage  behind  them.  More  and  more  as  their 
quarrel  advances  they  begin  to  see  that  some 
thing  is  wrong,  but  they  have  no  idea  what  to  do 
about  it,  and  they  scarcely  realize  what  is  hap 
pening,  the  quarrel  grows  so  from  little  things 
into  big  things.  Corydon's  first  vision  of  the 
tragedy  is  in  "It's  terrible  when  you  stop  to  think 
of  it."  Thyrsis'  first  vision  comes  when  he  looks 
into  the  pool;  in  seeing  the  familiar  reflection  he 
is  struck  by  the  unfamiliarity  of  one  aspect  of  it, 
the  poisonous  root;  for  the  first  time  he  realizes 
that  this  man  who  is  about  to  kill  with  poisoned 


ARIA    DA    CAPO  53 


water  his  most  beloved  friend,  is  none  other  than 
Thyrsis  himself, — "  'Tis  I !"  The  personalities 
of  Thyrsis  and  Corydon  are  not  essentially  differ 
ent.  They  develop  somewhat  differently,  because 
of  the  differing  circumstances. 

When  Columbine  goes  out  for  the  first  time  she 
takes  with  her  her  artichoke  and  her  wine-glass, 
also  a  couple  of  macaroons,  which  she  nibbles, 
going  out.  This  helps  to  get  the  table  cleared. 
The  other  articles  are  removed  by  the  shepherds 
when  they  prepare  the  stage  for  their  scene,  in 
this  manner :  at  the  cue  "Sir,  we  are  always  ready 
.  .  .  Play  the  play!",  Corydon  and  Thyrsis 
come  down  stage,  Corydon  to  Pierrot's  end  of  the 
table,  Thyrsis  to  Columbine's;  simultaneously, 
first,  they  set  back  the  chairs  against  the  wall, 
Pierrot's  left  front,  Columbine's  right  front ;  next 
they  remove  the  two  big  bowls  and  set  them  in 
symmetrical  positions  on  the  floor,  left  front  and 
right  front,  in  such  a  way  that  the  bowl  of  con 
fetti  may  be  the  mine  of  jewels  for  Corydon,  and 
the  bowl  of  fruits,  the  punch-bowl,  may  represent 
the  pool  of  water  for  Thyrsis;  then,  taking  the 
table  by  the  two  ends,  they  set  it  back  against 
the  wall,  right;  next,  while  Corydon  places  the 
two  pillows  from  the  left  wall  on  the  floor  to  rep- 


54  ARIA    DA    CAPO 


resent  rocks  in  their  pasture,  Thyrsis  removes 
from  the  table  everything  that  is  left  on  it  except 
the  table-cloth, —  this  should  be  only  Pierrot's 
wine-goblet  and  the  flower  in  its  pot.  (The  flower 
is  to  represent  later  the  poisonous  weed  which 
Thyrsis  finds,  the  wine-goblet  a  drinking-cup  be 
side  the  pool,  the  flower-pot  a  bowl  in  which  to 
mix  the  poison  and  bring  it  to  Corydon.)  The 
two  shepherds  do  this  setting  of  their  stage 
swiftly  and  silently,  then  seat  themselves  at  once, 
in  easy  but  beautiful  postures,  and  remain  for  a 
moment  looking  off  as  if  at  their  sheep  while  a 
complete  silence  settles  over  the  stage  and  house, 
—  a  pastoral  silence,  if  it  is  possible  to  suggest 
it  —  before  they  begin  to  speak. 

When  Columbine  comes  in,  looking  for  her  hat, 
she  picks  up  the  hat  from  her  chair,  now  in  the 
centre  of  the  stage  near  the  footlights,  in  a  direct 
line  with  Pierrot's,  which  is  centre  back,  just  in 
front  of  Cothurnus, —  the  shepherds  having  set 
them  in  these  positions,  back  to  back,  in  order  to 
have  their  aid  in  weaving  the  wall.  After  taking 
her  hat,  Columbine  stands  looking  at  the  shep 
herds  to  see  what  is  going  on.  They  do  not  look 
at  her.  After  a  moment  Thyrsis,  slowly,  with  his 
eyes  steadfastly  on  Corydon's,  says,  "Take  it. 


AEIA   DA    CAPO  55 


and  go."  When  Columbine  comes  in  in  the  final 
scene,  she  is  wearing  the  hat.  She  takes  it  off, 
however,  as  she  sits  down  again  at  the  table,  so 
that  the  second  beginning  of  the  play  may  recall 
as  vividly  as  possible  to  the  audience  the  first 
beginning. 


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